Oskar Lindberg (1887-1955)
Oskar Fredrik Lindberg was born on 23 February 1887 and died on 10 April 1955 in Stockholm. He was a composer, organist and conductor. He studied at the Royal Conservatory of Music during 1903−11, was organist at the Trinity Methodist Church in Stockholm from 1906 to 1914 and at Engelbrekt Church during 1914−55. He taught harmony at the Royal Conservatory of Music from 1919 to 1952, becoming professor in 1936. From 1922 he directed the Stockholm Academic Orchestra Association. Lindberg was one of the founders of the Society of Swedish Composers. His extensive musical output includes virtually all classical genres except for solo concertos and ballets. Among his best-known works are Gammal fäbodpsalm and the choral piece ‘Pingst’. In 1926 he became a member of the Royal Swedish Academy of Music and in 1932 he received the Litteris et artibus medal.
Childhood and student years
Oskar Lindberg was a Dalecarlian (a man from Dalarna), born in Gagnef, in the region of Dalarna on 23 February 1887, as the fifth child of eleven, of which ten survived infancy. His father Per Lindberg was an elementary school teacher and it was from his mother Kerstin, that he inherited his musical streak. Several of this large group of siblings would go on to build careers as teachers and priests.
Oskar Lindberg began early on to play organ in the Gagnef Church. At almost the same age he began composing. He had the opportunity to study music with Ulrik Cederberg who was a respected organist in the Falu Kristine kyrka (Kristine Church, Falun) in addition to being a music teacher for the town’s secondary school. In 1903, at sixteen years of age, Lindberg applied and was accepted to the Kungliga Musikkonservatoriet (the Royal Conservatory of Music) in Stockholm. There he studied composition under Ernst Ellberg and organ performance with August Lagergren. In the spring of 1906 he achieved his degree in organ performance and soon began working as organist and choirmaster at the Trefaldighetskyrkan (Trinity Methodist Church) located on the street Majorsgatan in Stockholm. In 1908 he graduated with a degree in precentorship and later that same year, a degree in music pedagogy. He also took compositions lesson during 1909-11 with Andreas Hallén.
Oskar Lindberg composed extensively during his years of study. His actual debut as a composer was with the suite Tre dalmålningar (op. 1), which he wrote under Ellberg’s supervision. The conservatory student orchestra presented the work in 1908 with the young composer on the conductor’s podium. Songs, several chamber music works and an organ piece are among the compositions he wrote during his conservatory years. In 1909 he was inspired to compose music to Jeanna Oterdahl’s De sjungande löven (op. 6) – the premier for this musical drama for children occurred in 1913. In 1909 he also wrote a concert overture in E-flat major for orchestra, the first of three of its kind. It is striking that, from the outset, Oskar Lindberg wrote music in a variety of very different forms. It is also clear that he found his own style early on, compositions that rest on a combination of unforced melodies and an advanced chromaticism that continuously reformulates the colouring of the musical movement.
Establishment as a music teacher and organist
Oskar Lindberg received his first job as a music teacher in 1910 as a one-term temporary position at Västerås secondary school. Later that same year he was employed at Palmgrenska coeducational school in Stockholm, a position he retained until 1920. Works flowed from his pen the whole time, with such works as the songs ‘Adagio’, ‘Sommarkväll’ (both for voice and orchestra) as well as ‘Bekransa mig’ (voice and piano). In 1911 he wrote a choral work to Oskar Levertin’s poem ‘Pingst’, a piece that would soon become a repertory work, admired for its understated expressiveness and its refined harmony. He orchestrated the song in 1928 for string orchestra; it became ‘Adagio’.
A new form for Lindberg came with the symphonic poem, Vildmark (op. 10) written in 1912. The work was written for large orchestra and premiered the same year by the Kungliga Hovkapellet (the Royal Court Orchestra) conducted by the composer. In 1913 Lindberg spent six months at the music conservatory in Sondershausen, Germany – a little town in Thüringen. His stay consisted mainly of conducting studies. While there he produced the very danceable Festpolonäs (op. 13) and the atmospheric symphonic poem Florez och Blanzeflor (op. 12), both written for orchestra. Lindberg, evidently musically invigorated by his stay, began work on a symphony (op. 16) that would come to include four movements, and which he completed three years later. Although it was received positively when premiered by the Konsertföreningen (the Stockholm Concert Society) on 25 October 1917, he never returned to this prestigious form.
Thus far, it looks like Oskar Lindberg had his mind set on becoming a composer and conductor. However, one must consider that professional orchestras in contemporary Sweden were few and that composers were not entitled to be paid when their works were performed. And so it is logical that Lindberg looked for a permanent job, and that he was also engaged in organising the country’s composers in order to lay the groundwork for the protection of their compositions.
Organist in Engelbrekt’s Church
In 1914 Oskar Lindberg took the job as organist at Engelbrektskyrkan in central Stockholm, which was newly built. He would remain there for no less than 41 years. Although playing the organ was at the centre of his work there, he also led choirs. As part of his duties over the years, he wrote many works: choral pieces, organ works, solo songs, cantatas, etc. He composed both works that were meant for special events as well as works created without a particular situation in mind. In practice the congregation employed a church-oriented composer as much as a musician sitting at the organ keyboard.
At the same time that Lindberg entered this job, he took part in efforts to build an association for composers in Sweden. The attempt however came up empty. Four years later the idea was brought back to life, with Lindberg as one of the initiators. This time the Föreningen Svenska tonsättare or FST (the Society of Swedish Composers) was formed with Lindberg chosen as the treasurer on the first board of directors. Shortly thereafter a law was passed giving composers ownership rights to their works. This meant that Oskar Lindberg and his colleagues could expect to be financially compensated when their works were performed.
His job at Engelbrektskyrkan required a lot from him, but in spite of this Oskar Lindberg continued to compose outside of his paid employment. In 1916 he wrote the song ‘Jungfru Maria’ (op. 15) to Erik Axel Karlfeldt’s well-known poem of the same name. It is well worth noting that the song collections for children, Lyckans land 1−3 (1920, 1923 and 1934), were not only widely distributed, but also resulted in Lindberg beginning to compose accompaniments to popular songs. This would ultimately bring him to the composition of chorales (hymn melodies). The first song in his first publication – for which the collection was named – is the nursery room classic, ‘Lyckans land’ (‘Vid en väg, på en sten’).
Marriage
In 1921 Lindberg married Frida Wiklund and although she lived in Stockholm, both of her parents came from Ål, a neighbouring parish to Lindberg’s own, Gagnef. With their marriage, they received access to the Wiklund family’s summer pasture on the mountain Knippboberget in Ål, Insjön. In this summer farm, the couple created a beloved summer home. The handy father of the family crafted log buildings including a special organ cottage where he built a full-scale summer organ, with which he wrote numerous compositions. By far the most famous was Gammal fäbodpsalm (An old summer pasture hymn – originally named En gammal dalakoral), that he composed during the summer of 1936. The composition was premiered on 14 August that year by the Radiotjänst (Swedish radio) in a live broadcast from the Lindbergs’ farm. For many years, the work has been one of the country’s most common pieces of funeral music.
Stockholms akademiska orkesterförening was founded in 1922 and Oskar Lindberg led it from the start. He would remain in that role until 1955. The orchestra’s main task was to embellish academic ceremonies at the capital’s universities. Lindberg wrote music for this ensemble, including the cantatas Stockholm (op. 33, 1930) and Alma Mater Holmiensis (1930), both with texts by Tor Hedberg. Lindberg’s Festpolonäs was used at many graduation ceremonies.
For a short time Oskar Lindberg conducted the Musikföreningen (the Stockholm Music Society) which was at that time a choir. The ensemble took part, together with the Hovkapellet and four solo singers at the premier of Lindberg’s Requiem (op. 21) in the great hall of the Kungliga Musikaliska Akademien (The Royal Swedish Academy of Music) on 27 November 1923. On the podium stood Victor Wiklund. Work on the composition began in 1921 and was continued for the most part at the summer ‘village’. The piece has the traditional movements found in a mass, although partially in groupings, and received mostly good reviews. His composer colleague Moses Pergament wrote in the newspaper Svenska Dagbladet: ‘The orchestral movements were full and melodic and were often interesting, particularly because of a sort of polyphonic independence in relation to the vocal movement.’ Within this large structured work, Lindberg could use the full breadth of his knowledge – his experience with composing in larger forms, his skill with instrumentation, his prodigious knowledge of how to use the choir as an instrument and his deep familiarity with the church’s musical traditions.
Employment at the Kungliga Musikkonservatoriet
Beginning in 1919 Oskar Lindberg worked as a substitute teacher of harmony at the Kungliga Musikkonservatoriet, while in turn the regular teacher, Otto Olsson substituted for the ailing organ performance teacher Gustav Hägg. After Hägg’s death in 1925 Otto Olsson took over the organ performance duties and Lindberg became the regular harmony teacher. Lindberg would continue teaching at the conservatory until 1952 and in this way influenced several generations of music students.
Parallel with both his jobs at Engelbrektskyrkan and the music conservatory, he continued tirelessly to compose. Included in the works for his main instrument, the organ – in all some thirty are found in his list of works – is the four-movement Organ sonata in G minor (op. 23) produced in the summer of 1924. With inspiration from the French organ school, the sonata has a symphonic character and dimension that confirms the ambition of making a significant contribution to Swedish organ literature. This work is still performed quite regularly today.
In 1925 he composed En liten dalarapsodi for orchestra (op. 27), a composition that is temporally situated between Helena Munktell’s Dalsvit from 1916 and Hugo Alfvén’s Dalarapsodi (1932). Two years later he created Two pieces for string orchestra (op. 31), which was written in the middle of his work on a piano quartet (op. 29) in three movements. The latter work was premiered on 30 January 1930 in the small concert hall at Stockholm’s Konserthus. There was clearly nothing wrong with Lindberg’s capacity for work, even though his composing was limited to his vacations in the summer farm. This is further underlined by the continuous number of works flowing from his pen, including: the cantata Adventus Ansgarii (1930, text by Hugo Tigerschiöld) written for the inauguration of the chapel, Ansgarskapellet, on the island of Björkö, the rhapsody Per Spelman han spelte (1930, op. 32) that was a contribution for a competition by Swedish Radiotjänst for use by the radio orchestra as their own piece, the tone poem Hemifrån (1932, op. 34) and Leksandssvit (1935, op. 41) that was originally written for string orchestra and later re-worked for large orchestra. The latter piece still appears occasionally in concert programs.
Two major tasks
The second half of the 1930s was filled with two extensive compositional tasks; the opera Fredlös (op. 48) and a very active participation in the group that was preparing a new chorale book. The difference between these two demanding tasks also shows the breadth of Oskar Lindberg’s compositional work.
The libretto for Fredlös is based on Selma Lagerlöf’s short story ‘De fågelfrie’ from the collection Osynliga länkar, published in 1894. It was written by the German author and opera director Fritz Tutenberg, who had good contacts within Swedish musical life, and who also wrote the librettos for operas by Swedish composers Albert Henneberg (Inka, Det jäser i Småland) and Kurt Atterberg (Fanal). In addition he translated three of Natanael Berg’s operas into German (Birgitta, Engelbrekt and Genoveva). Tutenberg’s text was translated into Swedish by Ragnar Hyltén-Cavallius who also directed the production at Stockholm’s opera house. The plot is set during the Swedish medieval era at the border between the regions of Bohuslän and Västergötland. In the centre of the action stands the great peasant Berg Rese who desires his relative, Unn. In the drama that unfolds, Berg Rese kills a monk from the nearby Dragsmark cloister in anger and is then declared to be an outlaw (fredlös).
Oskar Lindberg had the idea for the opera as early as 1928 when he contacted Selma Lagerlöf in order to receive permission to rewrite the short story for the stage. The actual work of composing started in 1936 and, after several interruptions by work on the upcoming chorale book, was finished in January 1943. The work premiered on 25 November that same year with the opera’s foremost singers in the leading roles. The production was part of Föreningen svenska tonsättare’s 25th anniversary. The reviews were predominantly positive – the spirit of the times undeniably contributed to the fact that both the choice of the story and the insertion of bits of Swedish folk music attracted appreciation. One expert judge from later years, musicologist Lennart Hedwall claims that ‘the nationally pathetic tone is convincingly and dramatically effective’. Seven performances were presented. Since then, Lindberg’s opera has never been staged.
In 1936 Oskar Lindberg was appointed as a member of the committee led by the Minister of Ecclesiastical Affairs, Arthur Engberg. The task was to work up a proposal for a new chorale book. A provisional chorale book existed that had been adopted in 1921. The committee worked in parallel with emergence of a new hymnal. Oskar Lindberg made a large commitment to this task, for which he was certainly well-suited. His qualifications included both extensive experience as a church musician and his great familiarity with compositional assignments. In addition he had earlier written melodies to hymn texts. Aside from his participation in the actual committee work, Lindberg composed a string of melodies, several of which were included in the chorale book, which was made official in 1939. Included in those of Lindberg’s chorales that have passed the test of time are: ‘Bed för mig, Herre kär’, ‘Du öppnar, o evige Fader’, ‘Herre, jag vill bida’, ‘I öster stiger solen opp’ and ‘Jag lyfter ögat’ – these can still be found in the current hymnal from 1986. As an extension of the chorale book assignment, Lindberg took active part in the so-called liturgical-musical committee during 1941–44.
The final years
Oskar Lindberg’s last major work was the tone poem Gesunda (op. 54) that was created during 1946−47. Like many of Lindberg’s other larger orchestral works this creation was connected to his favourite place, Dalarna. From the heights of their summer farm, the Lindberg family could look out and see the mountain Gesundaberget in Sollerö parish. It is also a part of the background of this composition that Sweden’s first folk musicians’ competition, initiated by the painter Anders Zorn, was held in 1906 at the foot of this mountain.
The workingman Oskar Lindberg continued his activities year after year with unabated energy. His employment at Engelbrektskyrkan and the Kungliga Musikkonservatoriet ought to have swallowed up all his capacity for work, however he was still able to lead Stockholms akademiska orkesterförening, engage himself in associations, sit on boards, act as an expert on organ building projects – all in addition to being constantly busy with composing. And even more activities could be mentioned.
After a rare well-filled life’s work Oskar Lindberg died on 10 April 1955 in Stockholm.
Composition style
As mentioned previously, Oskar Lindberg found his role as a composer early on – as well as his stylistic approach. He retained both aspects throughout his whole career, despite the fact that musical trends gradually changed the environment within which he functioned. With a simplified, yet telling rubric, his music can be attributed to Late Romanticism. This label indicates that his work drew its nourishment from the musical soil that influenced him during his student years. At the same time this label also signifies that Oskar Lindberg was not influenced by the emerging modernism that he, nevertheless, experienced over many years. As a composer he was also not significantly affected by the New Objectivity movement (Neue Sachlichkeit). He came to embrace the organ movement that New Objectivity bore with it by acting as an initiator and inspector of organ building projects and renovations.
Folk music from the region of Dalarna is almost always held up as one of Lindberg’s sources of inspiration. It is true that folk songs and tunes from hand-written collections reappear regularly in his compositions. At times his inspiration from folk music is seen simply in arrangements – choral works such as ‘Och flickan hon går i ringen’ (1923) and ‘Dalvisa’ (1949) and organ pieces such as En gammal psalmmelodi från Mora (1935) and Gammal fäbodpsalm (1936) are examples. However, Oskar Lindberg could also weave folk music into larger compositional forms in which the borrowed material inspired him to further elaboration. Even in the opera Fredlös one finds developed borrowed material. Although it is not difficult to find inspiration from folk music in Oskar Lindberg’s works, the emphasis on his connection to folk music belittles his compositional activities. He wrote music first and foremost in a contemporary style, exactly like many of his generational colleagues, both inside and outside of Sweden.
This connection to folk music has also led to the view that Oskar Lindberg had a national pathos as a composer. The label ‘national romantic’ lies close at hand. Lindberg, however, was not particularly nationalistically oriented. His basic compositional style is, on the contrary, international, with threads leading to names such as Brahms, Sibelius and Rachmaninov. As for his organ works, they are clearly inspired by the French organ school.
One facet of him as a composer is the serious ethical demeanour that characterises a majority of his works, an attitude that seems to be founded in his personality. This atmosphere can be found in works including: Pingst, in Florez och Blanzeflor and even in Gammal fäbodpsalm.
Although far from alone in his generation in the utilisation of the almost inexhaustible possibilities of harmonisation, Lindberg’s masterful treatment of harmonies can be emphasised as another characteristic feature in his compositions. As a conservatory teacher Lindberg was a valued pathfinder in the universe of harmonisation. His movements are filled with sophisticated solutions to harmonic problems.
Gunnar Ternhag © 2016
Trans. Jill Ann Johnson
Publications by the composer
Lindberg, Oskar & Gustaf Brandt: För andakt och högtid i skolan, Stockholm: Norra Realläroverket, 1922.
Lindberg, Oskar, David Wikander & Henry Weman: Den gleerupska koralboken kontra den svenska koralboken, Stockholm: Westerberg, 1940.
‘Om koraler och koralsång’, in: Julbok för Västerås stift, vol. 36, 1941, Västerås, pp. 101−110.
Lindberg, Oskar, Henry Weman & David Wikander (eds): Koralbok för skola och hem i enlighet med den av Konungen år 1939 gillade och stadfästa normalupplagan, Stockholm: Diakonistyrelsen, 1945.
‘Koraler, spelmän och låtar’, in: Gagnef och Mockfjärd - en hembygdsbok, 1952, pp. 117-136
Bibliography
Brodin, Gereon: ‘Oskar Lindberg’, in: Sohlmans musiklexikon, vol. 4, Stockholm: Sohlman, 1977, pp. 322−323.
Edholm, Dag: ‘Kring Oskar Lindbergs hemorglar i Insjön och bygdeorgelbyggeriet i Dalarna under 1800-talet’, Orgelforum, vol. 15, no. 3, 1993, pp. 6−11
−−−: S:ta Cecilias tjänare: om kyrkomusikens utövare i Stockholm under fem århundraden, Sköndal: Edward Vincents orgelstiftelse, 2002, p. 97f.
Gustafsson, Ralph: ‘Oskar Lindberg: liv, verk och orglar’, Orgelforum, vol. 18, no. 1, 1997, pp. 32−38.
−−−: ‘Förnyare av kyrkomusiken’, Kyrkomusikernas tidning, vol. 63, no. 12, 1997, pp. 8−9.
Hansson, Sten: Det praktiska tonsätteriets historia − Föreningen Svenska tonsättare genom 75 år, Stockholm: Edition Reimers, 1993, p. 12ff.
Hedwall, Lennart: ‘Lindberg, Oskar F’, in: Svenskt biografiskt lexikon, Stockholm: Svenskt biografiskt lexikon, 1980−81.
−−−: Den svenska symfonin, Stockholm: AWE/Gebers, 1983, pp. 270−272.
−−−: ‘3 x Dalarapsodi’, in: Alfvéniana, vol. 1, 1997, pp. 3−9.
Källén, Birger: ‘Oskar Lindberg och en fäbodpsalm’, in: Årsskrift / Samfundet för unison sång, 1988, pp. 3−5.
Lööw, Anton: Oskar Lindberg: Ett musikerporträtt. Leksand, 1955.
Malmborg, H: ‘Oskar Lindberg, ‘Mitt lands’ kompositör’, Sångartidningen, no. 2 1946.
Mangård, Carl: ‘Mellan Engelbrektskyrkan och buan’, Vestmanlands läns tidning, 1949, julnummer, pp. 4−5.
Morales, Olallo: ‘En karsk dalkarl’, Röster i radio, no. 9 1947.
Olson, Daniel: ‘Oskar Lindberg’, Vår sång, 1947.
Percy, Gösta: ‘Oskar Lindberg in memoriam’, Musikrevy, no. 3 1955.
Sandin, Bo Harry: Oskar Lindberg − en Guds spelman. En monografi. Björbo: Notex produktion, 2000.
Seymer, William: ‘Oskar Lindberg’, in: Svenska män och kvinnor, vol. 4, p. 619, Stockholm: Bonnier, 1948
Therstam, Stefan: ‘Engelbrektskyrkans orglar under Oskar Lindbergs organisttid 1914-55’, Orgelforum, no. 3 2007, pp. 18−22.
Uddén, A: ‘Mas och spelman’, Röster i radio, no. 47 1945.
Weman, Henry: ‘Oskar Lindberg 60 år’, Kyrkomusikernas tidning, no. 2 1947.
Åhlén, David: ‘Oskar Lindberg — en Guds spelman’, Vår sång, 1947.
−−−: ‘En kyrkomusikers minnen’, 1969, unpublished.
Sources
Kungl. Biblioteket, Scenkonstmuseet Stockholm, Sibeliusmuseum Åbo, Musik- och teaterbiblioteket, Uppsala universitetsbibliotek.
Summary list of works
3 concert overtures for orchestra, 3 Dalarna tone paintings for orchestra, Dance caricature for orchestra, 5 symphonic poems (Vildmark, Florez och Blanzeflor, Från de stora skogarna, Hemifrån, Gesunda), rhapsodies for orchestra, suites for orchestra, 2 pieces for string orchestra, additional smaller works for orchestra, Piano quartet in D minor, several works for violin and piano, works for piano, works for organ, songs with piano, songs with organ, hymns, at least 12 works for solo voice and orchestra, at least 13 cantatas, Requiem, works for a cappella choir.
Collected works
Mainly according to Sandin 2000. Some complementary works have been added from Inger Enquist’s register (2013) of Oskar Lindberg’s archive in the Musik- och teaterbiblioteket, where the greater part of the preserved autographs are kept. Many works are in print. If not otherwise noted, the year refers to year of composition.
Musical Drama
De sjungande löven (Jeanna Oterdahl), comic opera for barn, for soli, chori and piano, 1909−10 and 1922.
Fredlös, opera in three acts, libretto by Fritz Tutenberg based on Selma Lagerlöf’s De fågelfrie, 1936−1943, premiered at Kungl. Teatern 25/11 1943.
Orchestra
Adagio (Pingst), for string orchestra, 1928.
Dance caractéristique, previously called Symfonisk dans, op. 9, 1911.
En gammal kämpavisa från Dalarna – from the 1500s, op. 42, 1935−36.
En liten dalarapsodi, op. 27, 1925.
En låt från Leksand. Vid Erik Axel Karlfeldts bår, for string orchestra.
Festpolonäs, op. 13, 1913.
Florez och Blanzeflor, symphonic poem, op. 12, 1913.
Från de stora skogarna – Aus den grossen Wäldern, symphonic poem for large orchestra, op. 18, 1917−19.
Gesunda, tone poem for orchestra, op. 54, 1946−47.
Hemifrån, symphonic poem, op. 34, 1932.
Introitus solenelle, op. 26, 1924, also for organ under the title Introitus solennis.
Concert Overture no. 1, E-flat major, op. 3, 1909.
Concert Overture no. 2, B minor, op. 7, 1911.
Concert Overture no. 3, D major, Vår, op. 25, 1924.
Le Débris, ‘Valse caractéristique par J. De Tonnérre’, 1916, published 1917, also for piano.
Leksandssvit for orchestra or string orchestra, op. 41, 1935. 1. Gånglåt, 2. Visa, 3. Polska, 4. Visa, 5. Vid Karlfeldts bår.
Interlude from the opera Fredlös. 1943.
Incomplete work for string orchestra and harp, 1911.
Orchestral movement, draft.
Piece for orchestra, C major, 1950.
Piece for orchestra, B major, for clarinet, string orchestra, harmonium and piano, 1915.
Piece for orchestra, incomplete, 1951.
Piece for orchestra, no title, C major, 1950.
Piece for orchestra, no title, B major, 1915.
Per Spelman han spelte, rhapsody on Swedish folk melodies, op. 32, 1930.
Poem for string orchestra, 1935?
Svensk högtidsmarsch for orchestra.
Svensk högtidsmarsch, op. 44, 1938.
Suite for orchestra, op. 53, 1945.
Symphony, F major, op. 16, 1913−16.
Tre dalmålningar. 1. Prelude 1908, 2. Natt över skogen 1908, 3. Lek 1907.
Tre färdeminnen, op. 20, 1920. 1. Till bergena de stora, 2. När natten faller på, 3. Genom skogen.
Two pieces for string orchestra, op. 31, 1927 and 1929.
Vildmark, symphonic poem for large orchestra, op. 10, 1912.
Arrangements for orchestra
Du gamla du fria, 1923.
Music for the film Ingmarsarvet, 1925.
Music for the film Till Österland, 1925.
Voice and orchestra
Adagio (Bo Bergman), for soprano, string orchestra and harp, 1910.
Biskop Thomas frihetssång, 1921, unison voices with orchestra 1922.
De dödas ö (G. Svanström), for baritone and orchestra, 1908.
En liten visa av G.A. Sundell, orchestrated for strings by Oskar Lindberg,
Jungfru Maria (Erik Axel Karlfeldt), for voice and orchestra, 1916.
Kom min vän och låt oss gå, old folk melody from Dalarna, for voice and orchestra, 1946.
Längtan heter min arfvedel (Erik Axel Karlfeldt), for voice and orchestra, 1933, also for voice and piano.
Melodi.
Sommarkväll (Carl Larsson i By), for soprano and orchestra, 1910.
Somnar jag med blicken fäst (Jacob Tegengren), for solo or women’s choir with string orchestra.
Sov (Olof Thunman), for voice and orchestra, 1919.
Tre folkmelodier från Dalarna. 1. Himmelriket liknas vid tio jungfrur, 2. Den föräldralösa, 2. Vindarna sucka uti skogarna, for voice and strings, harp ad lib., text from the 1695 hymnbook.
Two Songs (M. Tourburn-Busck/F. L-g), for voice and orchestra or piano, op. 14, 1915−16. 1. Hur skall man bruden kläda?, 2. Vad söker du på stranden.
Vallarelåt (Gustaf Fröding), for voice and orchestra, 1911.
Liturgical works
Music for the Swedish High Mass (E. Linderholm), 1926.
14 chorales in the Swedish chorale book 1939.
Four ‘Sacred’ compositions.
84 chorale preludes for the Swedish hymn book.
Organ
Axel Jakobssons begravningsdag, paraphrase on the melody from Åhl (Torn Eriks visa), movement for organ, 1941.
Wedding music on an old motif from Dalarna, also called Festspel, for organ, 1939.
Den signade dag, organ chorale, 1944.
En gammal psalmmelodi från Mora, 1935, also for violin and piano.
Fantasy, 1911, lost.
Five preludes, before 1906.
Four organ chorales, op. 50. 1943. 1. Gud ej sitt tryckta barn. 2. Jesus allt mitt goda är, 3. Tänk, när en gång, 4. Helige ande, låt nu ske.
Four organ chorales. 1. Gud ej sitt tryckta barn förgäter, 2. Jesus allt mitt goda är, 3. Tänk när en gång, 4. Helige Ande, låt nu ske, 1943.
Gammal fäbodpsalm (previously En gammal dalakoral), for organ, 1936.
Högtidsmarsch, 1922−23.
I denna ljuva sommartid, organ chorale, 1930.
Introitus solennis, op. 26, 1924, also for orchestra.
Konsert-Fantasi for large organ, 1914.
Marcia funébre, 1916.
Music for the book of Job, op. 28, 1928, partly based on old Hebrew motifs, with the text in appendix.
När stormens lurar skalla, a little partita on the Swedish hymn 1939, 1954.
Organ chorale ‘I denna ljuva sommartid’.
Organ music for Kesti and Lars Sundblad’s wedding, 1947.
Organ movement, 1935, an old hymn melody from Mora.
Orgel sonata, G minor, op. 23, 1924.
Orgel piece, 1906.
Prelude and Fugue in A minor for organ, 1908.
Prelude, B minor, 1915, lost.
Funeral music (a combination of Vid fars bår and Vid Gustafs bår), 1948.
Three organ chorales, 1934. 1. Min själ och sinne, låt Gud råda, 2. Dig skall min själ sitt offer bära, 3. En fridens ängel ropar.
Variations on an old Dala chorale, op. 36, 1933.
Vid Fars bår, for organ, 1930.
Vid Gustafs bår, 1938.
Chamber music
Andante expressivo, for violin and piano, 1938.
Andante, for violin and piano, 1907.
Andante sostenuto, for violin and piano.
Berceuse, for violin and piano, 1909 (?), lost.
Drömmar, for violin and piano, 1910.
Elegy, for violin and piano, 1920.
An old hymn melody from Mora, for violin and piano, 1935.
Introduction and allegro, for violin and piano, 1907, lost.
Composition for violin and piano. Andande sostenuto. Allegro moderato.
Quartet for piano, violin, viola and cello, D minor, 1927−28.
Piano trio, incomplete.
Poème, for violin and piano, 1907.
Romance, for violin and piano, 1905−07.
Romance II, for violin and piano, 1907.
Romance, for violin, cello and piano, 1917.
Translationsmarsch, for flute, strings and piano, 1924?
Lullaby, for violin and piano, 1910.
Piano
A la nuit tobante (by ‘P. Fromont’), 1919.
Allegro, F major, 1905.
Ciel étoile (by ‘P. Fromont’), 1918.
En glad hambo (by ‘Herr Johansson’), 1919.
En längtans vals, 1919.
Farande vindar, 1908.
Four preludes, I-IV, op. 19, 1919.
Hymn and march, for piano four hands.
Intermezzo (Tempo allegretto), 1905.
Le Debris (by ‘Jean de Tonnière’), 1916.
Liten danssvit. 1. Gånglåt, 2. Polska, 3. Hopplek, 4. Vals, 1922.
Nocturne ‘Sång i sommarnatten’, 1945.
Incomplete prelude, 1919.
Piano piece, E major, 1907.
Piano piece, D minor, 1931, 16 measures.
Piano piece, E-flat major, waltz.
Piano piece, B minor, 1919.
Piano piece, sketch for an orchestral movement.
Piano piece, waltz, F-sharp minor, early work.
Piano piece, waltz, C major.
Piano piece, waltz, E-flat major.
Piano piece, waltz, E-flat−A-flat.
Prelude, orchestral movement, draft.
Prelude (‘till Selma W’), 1910?
Skymning, 1910.
Two 3-part fugues, A-flat−E-flat, 1907.
Waltz-Intermezzo, 1905.
Vår, 1905.
Vårstämning, 1906.
Songs for one voice with piano or organ
Adagio (Bo Bergman), 1910.
Allt som av kärlek är fyllt (Dan Andersson), pub. 1955.
Bakom en förlåt som rämnar (Kerstin Hed), 1948.
Barn på hemväg (Carl Mangård), 1950.
Barnvisa, D major, no text.
Biskop Thomas frihetssång, 1921.
Wedding hymn (‘Nu signad är i templets famn’), 1910.
Bygg dig en värld (Anders Österling), pub. 1955.
Bön för våra bröder på havet (C.G. Lagerfelt), pub. 1938.
Bönens ros (‘Det spirar i Guds örtagård’, Samuel Gabrielsson), 1917.
Cantus cordis (‘Hjärtats sång’, H. Tigerschiöld), 1930.
Dans i vassen.
Den bakvända visan (Helena Nyblom).
Den reslystna hönan (‘Det var en gång en höna’), 1932.
Det finns ett land där helgons här (E. Åkesson), melody = I öster stiger solen opp, also for mixed choir.
Det större fosterlandet (Jeanna Oterdahl), 1948.
Din församling rikt benåda, from Kantat vid kyrkoherdeinstallation i Engelbrekt, 1925.
Du underbara dunkla klarhet, 1908.
Du vandrar andra stigar, 1919.
Duett, 1908.
Ej med stora later, no text, 1923.
Eld och jord (Kerstin Hed), pub. 1932.
En bal i skogen, 1932. 1. Drömféen, 2. Lotta Klöverblom och Kalle Tistel.
Fader vår, i dina blida starka händer (Jeanna Oterdahl), pub. 1954.
Fader, du vars hjärta gömmer (Emil Liedgren), Swedish hymn 305.
Folkaresång (Carl Mangård), 1949.
Fosterlandet (‘Ej med stora later’, A. Lundegård), 1923.
Frälsare, du som äger läkedomen (Britt G. Hallqvist), melody = Tänk när en gång, Swedish hymn 594.
Fröken Tusensköna och Herr Riddarsporre (I. Björk), 1936.
Fädernas kyrka (J.A. Eklund), 1917.
Gagnefsvisan (K.V. Lundström), 1936.
Giv en kraftlös att strida, see Fader vår, i dina blida starka händer.
Gläns över sjö och strand (Viktor Rydberg), pub. 1925.
Gud bevare Sverige (Gunnar Wennerberg), 1905.
Gör skolan till ditt tempel (J. Linnman), pub. 1944.
Harpolskan, 1932?
Hemlandets själ (‘Vem är det som stilla skrider’, Ernst Klein), Viktor Rydberg-brödernas club song.
Herre, jag vill bida (H. Öberg), 1937, Swedish hymn 287.
Herre, led din unga skara (C.G. Lundin), Swedish hymn 305.
Himmelriket det skola vi söka, 1938.
I Guds hand (M. Bogeman), 1938.
Jag drömde (Susann Bolling), 1911.
Jag lyfter ögat mot himmelen (John Ludvig Runeberg), 1917, Swedish hymn 515.
Julens klockor.
Jungfru Maria (Erik Axel Karlfeldt), op. 15, 1916.
Katten Tjipp, tjopp (‘Tjipp, tjopp det var en lustiger katt’), 1932.
Kestis vaggvisa (E.W. Hülphers), 1924.
Composition for solo voice with piano or organ, 1952.
Konung i det höga (Öhrstedt), chorale from Kyrkokantat no. 2, 1939.
Kyrkobrödersång (‘Natt över jorden’, B. Oxenstierna).
Lindagulls krona (Bertel Gripenberg), for violin, voice and piano.
Lyckans land, book 1, pub. 1920. 1. Lyckans land (Anna Maria Roos), 2. Lille Pers vandring (H. Gyllander), 3. Kissemissen (Anna Maria Roos), 4. Björnen och skräddaren (Anna Maria Roos), 5. Jungfrun och räven (Anna Maria Roos), 6. Under lindarnas sus (Anna Maria Roos), 7. Tomten (Viktor Rydberg), 8. Sagans slott (Jeanna Oterdahl), 9. Nu lyser julens stjärna klar (H. Lundgren).
Lyckans land, book 2, pub. 1923. 1. En vårvisa (I. Hasselblad), 2. En liten riddarvisa (Jeanna Oterdahl), 3. Rosenknoppen (Ingemann), 4. Ute blåser sommarvind (Samuel Hedborn), 5. Vaggvisa (Jeanna Oterdahl), 6. Sommarmorgon (Jeanna Oterdahl).
Lyckans land, book 3, pub. 1934. 1. Prinsessan Vår (I. Björk), 2. Myggdanslek (I. Björk),3. En bal i skogen (I. Björk), 4. Lotta Klöverblom och Kalle Tistel (I. Björk), 5. Älvornas spelman (I. Björk), 6. Drömféen (I. Björk).
Längtan heter min arvedel (Erik Axel Karlfeldt), op. 22, 1923.
Nu lysa alla hagar (M. Wallenberg), 1951.
När pingstens klockor ringa (Samuel Gabrielsson), 1953.
När solen sjunker i västerled, for two voices and piano.
Pelle Myra, 1932.
På Golgata (T.L. Truve).
Skapare, vår Gud och Fader (Öhrstedt), pub. 1939.
Snabbt jagar stormen våra år (Erik Axel Karlfeldt), 1939.
Sommarkväll (Carl Larsson i By), op. 4, 1910.
Sommarnatt, 1905.
Somnar jag in med blicken fäst (Jacob Tegengren), pub. 1932.
Sov (Olof Thunman), 1919.
Sveriges frihet (‘Efter tunga träldomstider’, J.A. Eklund), 1914.
Song for one voice, C major, no text.
Song for unison choir with piano, A-flat major.
Sång till Västmanland (Carl Mangård).
Sången om Dalarna (Carl Mangård), 1951.
Till ett barn, 1942.
Till Vasalöparna (Karl-Erik Forsslund).
Tippela (I. Björk), 1940.
To pray is more, melody Tänk när en gång, Swedish hymn 594.
Two sacred songs, from Kantat vid kyrkoherdeinstallationen i Engelbrekt, 1925. 1. Så talar Herren vår Gud, 2. Sekler ses svinna, for solo and organ/piano.
Two songs (M. Thorburn-Busck), op. 14, 1915−16. 1. Hur skall man bruden kläda, also with orchestra, 2. Vad söker du på stranden, also with orchestra.
Two songs, 1919. 1. Älskade, sjung för mig (A. Krook), 2. Sov (Olof Thunman), also with orchestra.
Tänd i våra hjärtan flamman, see Vänskapshymn.
Vad gagnar det en människa (Pär Lagerkvist), 1948.
Varje själ som längtan bränner, 1950, composed for the Odd fellows order, also for men’s choir.
Vem är det som stilla skrider, see Hemlandets själ.
Vinterlandet (S. Granlund), 1920.
Vitsippornas saga (Anna Maria Roos), 1938.
Välsignelsen, 1914.
Vänskapshymnen (‘Tänd i våra hjärtan flamman’), 1950, composed for the Odd fellows order, also for men’s choir.
Cantatas and similar choral works
Alma Mater Holmiensis, graduation cantata (Tor Hedberg), for solo tenor, men’s choir and orchestra, 1930.
Det ljusa landet (Joel Rundt). 1. Vandring, 2. Sommarmorgon, 3. Templet, 4. Hjärtat, 5.
Sången, for choir, solo and orchestra, 1933.
Eldbegängelsekantat, see Sorgehymn.
Celebratory Cantata, for men’s choir with piano, Högre allmänna läroverket å Norrmalm 1926.
Fredrika Bremer-kantat (Anita Nathorst), for soloist, choir, and piano, 1934.
Hymn for the installation of pastor John Nilssons (John Nilsson), 1955.
Christmas cantata (text from the Bible), for soloist, women’s or children’s choir and piano, 1932.
Cantata for choir, solo, orgel och orkester till Köla kyrkas återinvigning 1934 (J. Lundgren).
Cantata till Falu stads 300-årsjubileum (Karl-Gustav Hildebrand), for soloist, choir, and orchestra, 1941.
Cantata for Skellefteå church’s consecration, for soli, choir and organ, 1927.
Cantata for the consecration of Svenska kyrkan in Oslo, for mixed choir and orchestra or organ, op. 24, 1925.
Cantata for the 300-year jubilee of Åmål city, for soloist, choir, and orchestra (J. Skog), 1933.
Cantata for the 600-year jubilee of Bergslaget (‘Bergslagskantat’), for soloist, choir, and orchestra, 1947.
Cantata for the 50-year jubilee of Dalaföreningen i Stockholm, for choir and piano (Per Johannes), 1952.
Cantata for the consecration of Hässelby church on 1 october 1939, for mixed choir and organ (B. Malmberg), 1939.
Cantata for the consecration of Östersunds new church (G. Öhrstedt), for choir, organ, three trumpets and three trombones, 1939.
Cantata for the institution of Lodge no. 59 Sten Sture (Odd Fellow) (B. Wideman), for soloist, men’s choir and piano, 1914.
Church cantata no. 3 (Nils Bolander), for soloist, choir, and orchestra, for the pastoral installation at Engelbrekts church 1947.
Mitt land, for soloist, men’s choir and orchestra, 1944.
Motett på Allhelgonadagen, for Pastor Helge Ljungberg at his installationen in Engelbrekts Church, 1950.
Music for the Swedish High Mass, for choir and organ, 1926.
Norra Reals högtidsmarsch, for men’s choir with piano, 1926.
Odd Fellow-Cantata for the 25th anniversary of Lodge no. 4 John Ericsson (G. Björkroth), for soli, men’s choir, piano and organ harmonium, 1917.
Reformationskantat, 1923?
Requiem, for soli, choir and orchestra, composed1920−22, the last movements were orchestraded in 1923.
Sjukkaveln (Karl-Erik Forsslund), for choir and organ 1944.
Skansen, Cantata for Skansen’s Spring Jubilee in June 1918. 1. Inledningskör, 2. Minnenas sång, 3. Artur Hazelius, 4. Hymn (Prins Wilhelm).
Funeral hymn (B. Gentele-Sillén), for solo, mixed choir and organ 1918. To the memory of Civil Engineer A.E. Gentele (‘Eldbegängelsekantat’).
Sånger under vårdträdet, Cantata for the 100-year celebration of Svenska Folkskolan 1942 (H.V. Nyberg), for soloist, choir, organ, piano, strings.
Sömnens slott (O. Levertin), for solo, choir and small orchestra op. 5, 1910 .
Uppståndelsekantat (K.J. Ekman), 1934.
Vid kyrkoherdeinstallation i Engelbrektskyrkan 1925 (J. Lindgren), for soprano and baritone soloists, mixed choir and organ, 1925.
Viktor Rydberg-kantat, for soloist, choir, violin and organ/piano, for the celebration of the Viktor Rydberg Lodge (Odd Fellow) 1920.
Wallinkantat (‘Jordens oro’, Harry Blomberg), for soloist, choir and organ, 1942.
Other larger choral works with accompaniment
Advent hymn, for mixed choir and organ, 1928.
Adventus Ansgarii (Ansgar’s arrival), for soloist, choir and organ (H. Tigerschiöld), 1930.
Allhelgonahymn (J.A. Eklund), for mixed choir and strings, 1933, two key signatures.
Mitt land (G. Åhlstad), for men’s choir with soloist and orchestra, op. 52, 1944.
När natten sakta stiger (B.E. Malmström), for mixed choir and orchestra, 1912.
Somnar jag in med blicken fäst (Jacob Tegengren), for women’s choir and string orchestra, also set for mixed choir with an organ part.
Sång till hembygden (Kerstin Hed), for choir and orchestra, 1935.
Mixed choir
Ack, Herre Gud Fader, for mixed choir, 1945, melody from Djura notated by J. Dalfors.
Afton (Skog), from Åmålkantat.
Bed för mig, Herre kär (Anders Frostensson), Swedish hymn 282.
Bönens ros (‘Det spirar i Guds örtagård’, Sam Gabrielsson), 1917.
Dalvisa (‘Om sommaren sköna’), for mixed choir, 1949, arrangement.
Den signade dag, for mixed choir, 1951, variant from Äppelbo harmonised by Oskar Lindberg, also a variant from Leksand.
Den signade dag, for mixed choir, variant from Gagnef notated and harmonised by Oskar Lindberg.
Den signade dag, melody part, variant from Mora.
Efter tunga träldomstider (J.A. Eklund), 1918.
En stridsmans bön (‘En stridsmans liv lever mänskan på jorden’, texts from the book of Jobs), for mixed choir and piano, 1911.
Fader, du vars hjärta gömmer (Emil Liedgren), 1917 .
Flickan hon går i ringen, for mixed choir, 1923, arrangement.
Folkvisa (Per Johannes), for the 50-year jubilee of the Dalaföreningen 1952, with piano.
Gagnefsvisan (K.V. Lundström), 1936.
Gud, som haver barnen kär, 1918.
Gud, vår Gud, i gångna tider (P. Nilsson), 1918.
Hav tålamod ännu en tid (Natanael Beskow), 1918.
Hemlängtan (Per Johannes), for the 50-year jubilee of the Dalaföreningen 1952, with piano.
Hur helgedomen härlig står (Lindgren), from the cantata Vid kyrkoherdeinstallation i Engelbrekts kyrka 1955, also published under the title Ett ord av Gud.
Hymn till fosterlandet (‘Du land’).
I kristne vänner alla, for mixed choir (A.H. Sundell), based on a melody from Mockfjärd notated by Anders Frisell.
I öster stiger solen opp (B.S. Ingelman), 1938, Swedish hymn 432.
Installationshymn (‘Herre välsigna den herde du sänt’), 1914.
Jag lyfter ögat mot himmelen (Johan Ludvig Runeberg), 1939, Swedish hymn 515.
Lofsjungen Herren, piece for mixed choir, 1920.
Lovsång (Öhrstedt), from Church Cantata no. 2, 1939.
Man borde inte sova (Jeremias i Tröstlösa), for mixed choir, 1917, two key signatures.
Man ser ditt segertåg, o Gud (Aug. B.).
Martinus Luther (P. Nilsson), for mixed choir, 1917.
Morgonen (‘Solen några purpur droppar’, Johan Ludvig Runeberg), for two or three-part choir with piano (Johan Ludvig Runeberg), 1914.
Motet for All Saints’ Day 1950 (Ps 84:6-8), for the installation of Pastor Helge Ljungbergs at Engelbrekt’s congregation.
Nu dagens sol i glans och prakt (C. Scriver/J.A. Ekman), 1938, Swedish hymn 446.
När natten sakta stiger (B.E. Malmström), op. 11, with piano, 1912.
Oktobervisa, for choir (T. Storm).
Passionssång, for mixed choir, 1921.
Pingst (Oscar Levertin), for mixed choir 1911.
På allhelgonadagen (J.A. Eklund), 1932.
Saliga de döda, for choir.
Piece for mixed choir a cappella, 1907.
Piece for mixed choir a cappella, E major.
Piece for mixed choir with piano, D major, 1917.
Piece for mixed choir with piano, D major, 1949.
Piece for mixed choir, solo och piano, 1917.
September (Ernst Eklund), for men’s choir or mixed choir, 1925.
Små gråa stugor (Skog), 1943, from Åmålkantat.
Stilla sköna aftontimma, for mixed choir (J.T. Jacobsson), based on an old melody from Åhl sung by Torn Erik.
Stjärntändningen (Verner von Heidenstam), for mixed choir, 1922.
Strö ut ljus (I. Granqvist), 1917.
Sång till hembygden (Kerstin Hed), 1951.
Songbook for the Svenska kyrkan II, music appendix to Kyrklig sång, 1918.
Sången om Dalarna (Carl Mangård), 1951.
Till fadershuset, till Guds stad, for mixed choir, melody from Floda notated by Erik Johan Thunstedt.
Till Gud jag flyr (Carl Wilhelm Böttiger), 1918.
Till natt det åter lider (Johan Ludvig Runeberg), 1918.
Ty sol dröjer kvar över fjällen (Anna Preinitz), for mixed choir and piano, 1907.
Ungdomssång, for mixed choir, 1944, autograph.
Våra fäder (Per Johannes), for the 50-year jubilee of the Dalaföreningen 1952, with piano
Vänskapshymn, for mixed choir.
Över Sveriges kyrka och Sveriges folk (J.A. Eklund), 1918.
Women’s choir
De komma, de komma, for two-part women’s choir and piano, 1907.
Det spirar i Guds örtagård (Samuel Gabrielsson), 1917, for three-part choir.
Det är vår! (M. Norrman), for women’s choir, 1933.
Duett, 1908, lost.
Fredrik Bremer (Anita Nathorst), for women’s choir with piano, 1944, from Fredrika Bremer-kantat.
Glänsande våren (Elias Sehlstedt), for women’s choir with piano, pub. 1933.
I landet Vitavall (Anna Maria Roos), for soloist, women’s choir and piano, 1916.
Jag lyfter ögat (Johan Ludvig Runeberg), 1948.
Källan (Karl Gustav Hildebrand), for two-part women’s choir with organ, 1945, from Kantat för Svensk sjuksköterskeförening.
Choral piece, D major, no text.
Midsommarnatt (Jeanna Oterdahl), for women’s choir with piano, 1910, from De sjungande löven.
Morgonen (Johan Ludvig Runeberg), for women’s choir with piano, also in versions for men’s choir and mixed choir.
Mödrarna (Anita Nathorst), for women’s choir with piano, 1944, from Fredrika Bremer-kantaten.
Nu sjunga helgonen.
Ny dag (Anita Nathorst), for women’s choir with piano, 1944, from Fredrika Bremer-kantaten.
Och jungfrun gick åt killan, for women’s choir, 1933.
O, du som ser (Jeanna Oterdahl), for three-part women’s choir with piano, 1923, for four-part women’s choir 1914.
På vandring (Kerstin Hed), for women’s choir with piano, pub. 1936.
Piece for women’s choir a cappella, 1907.
Sjukkaveln (Karl-Erik Forsslund), for women’s choir and orgel, from Kantat för Svensk sjuksköterskeförening.
Somnar jag in med blicken fäst (Jacob Tegengren), for women’s choir and piano, pub. 1932.
Sång till fröken E. Kruse vid våravslutningen 1923 (H. Bratt).
Templet (Joel Rundt), from Det ljusa landet.
Vingar (A. Kruse), for one voice or women’s choir with piano, pub. 1934.
Vinterlandet (S. Granlund), for soloist, two-part women’s choir och piano, 1920.
Visa vid väg (H.V. Nyberg), pub. 1942.
Vårdträdet (Kerstin Hed), for women’s choir with piano, pub. 1926.
Vårgryning (Kerstin Hed), for women’s choir with piano, 1943.
Vårsång (Elias Sehlstedt), for two-part women’s choir with piano.
Men’s choir
Bergslagen, for men’s choir (J.-O. Johansson), in two different key signatures.
Böljebyvals, for men’s choir (Erik Axel Karlfeldt), 1911.
Sveriges frihet (‘Efter tunga träldomstider’, J.A. Eklund), for men’s choir, 1914.
Helgdagsafton (Skog), for men’s choir, pub. 1914.
Herre, jag vill bida (H.E. Öberg), 1937.
Hjärtstilla (Erik Axel Karlfeldt), pub. 1930.
Hymn on the 200-year anniversary of the death of King Karl XII (l.F. Läffler), 1918.
Katarina Månsdotters vaggvisa för kung Erik (Zacharias Topelius), for men’s choir.
Passionssång (‘Liksom lammet som till slaktning ledes’), 1921.
Ljusa aftonskyar (‘Sägen vart I gån’, Daniel Fallström), for solo baritone and men’s choir, 1918.
Man borde inte sova (Jeremias i Tröstlösa), pub. 1929.
Mitt land (Georg Åhlstad), for soloist, men’s choir, piano, harmonium, op. 52, 1944.
Morgonen (Johan Ludvig Runeberg), for men’s choir and piano, 1909.
Norra Reals kollegievisa (E. Dahl), 1920?
Nu drar över stilla vatten (Skog), pub. 1918.
Nu strålar ljus (K.J. Ekman), for men’s choir and organ, 1920, from Viktor Rydberg-kantaten.
När tranorna draga över heden (Jacob Tegengren), pub. 1929.
Och inte vill jag sörja (folk song, melody: Oskar Lindberg), 1910.
Oktobervisa (T. Storm), pub. 1935.
Prinsessan Törnros (Skog), 1916.
Saliga de döda.
Piece for 3-part men’s choir, 1908, lost.
Piece for men’s choir, no text, 1916.
September (Ernst Eklund), 1911.
Sveriges frihet (J.A. Eklund), pub. 1938.
Three-part men’s choir with piano, 1908.
Varje själv som längtan bränner, 1950, compsed for the Odd fellows lodge.
Vänskapshymn, compsed for the Odd fellows lodge.
Öde, öde stå skogarna.